Suche:adm

180g Heavy double vinyl LP with liner notes by Tyran Grillo. Limited Japanese Obi for the first pressing. Original artwork by Russell Mills and photography by Jean-Baptiste Mondino.

The third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell's music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.

Trumpet player Freddie Hubbard's fusion jazz on Red Clay is something that the younger generations within jazz and hip hop admire and aspire to. The title track "Red Clay" was sampled by both A Tribe Called Quest on "Jazz (We've Got)" and Freestyle Fellowship in "Parkbench People", only to be covered by today's new vocal jazz singer José James.

It would take half a day to explain the intricacies of a song like "The Intrepid Fox". Red Clay seamlessly blends bop with soul jazz and fusion in a way that will remain unsurpassed for a long time. Red Clay was Hubbard's first album on CTI Records, after his long stint with Blue Note Records. Accompanying Freddie on this album are Joe Henderson (sax), Herbie Hancock (piano), Ron Carter (bass) and Lenny White (drums). The album was produced by Creed Taylor and recorded and engineered by Rudy Van Gelder in his legendary studio in Englewood Cliffs, New Jersey.

Luca Lozano has long been an artist whose output as both a producer and designer we've admired and after many years of seeing his records fly off the shelves here at Phonica, we're delighted to be releasing the 'Da Vinci' EP by the Klasse Wrecks boss on our main label. We'll let Lucas, the modern day renaissance man himself, take it from here:

"These four tracks were created over a few sessions while I was settling into a dank basement studio (which was new at the time and now long gone).

‘The Magnificent’ and ‘Delta Force’ were made just after I acquired an old Korg Delta synth, I spent a lot of time getting the 1970s beast to sync up with modern equipment and both tracks make use of it in various elements.

‘Eau De Dave’ is a cheeky homage to a UK producer legend, I’ve been digging into his various older productions recently and went back to a fidget sound for the fun of it.

‘Crunchy Nut’ was kind of inspired by early U.K. tech house, it was the last track confirmed on the EP and came together super quick. As usual it’s a mix of old drum machines like a modded 707 and a bunch of old samples I’ve had on my computer for a couple of decades now. I’m happy I managed to work some slap bass into a track finally…"

2026 Repress

Prologue: Wearied by our endless travelling under a burning sun, we stopped by the margins of a tiny stream, embraced by a timid vegetation. The scorching heat made our throat parched and weak: yearning to quench our thirst, we immersed ourselves into the waters without any hesitation, drowning our dryness and our exhausted limbs. I pointed my face, revived by water, towards the sky and I lingered on, admiring it: a flock of birds gently floated, drawing in the sky some abstract shapes. I sat beneath a palm tree, motionlessly admiring the show, the shades of the night approaching. 'The true joy of a moonlit night is something we no longer understand. Only the men of old, when there were no lights, could understand the true joy of a moonlit night.' --

Area records delivers their first release from ADMNTi, with a 4-tracker that spans through electro tinged tech house, breaks and 2-step, making up the GigaHertZ EP.

On his sixth LP In Another, Toronto-based, Japanese-born, musician and composer Masahiro Takahashi (髙橋 政宏) continues the collaborative expansion of his sonic universe that listeners witness on his 2023 release, Humid Sun. Here he enlists a rotating ensemble of ten guest artists from Toronto’s vibrant music community, including his labelmate Joseph Shabason, who also serves as the album’s co-producer and engineer.

Spurred by his longtime admiration for chamber pop spanning the High Llamas and Free Design to the Beach Boys, Takahashi deviates from the underlying processes of his past two outings, trading Ableton sequences for lead sheets, focusing on creating robust melodic and harmonic foundations first. This difference is audible straight away; the album opens with a dialog between upright piano and plucked double bass that’s so gentle and transparent you can hear the breath of the players.

On his sixth LP In Another, Toronto-based, Japanese-born, musician and composer Masahiro Takahashi (髙橋 政宏) continues the collaborative expansion of his sonic universe that listeners witness on his 2023 release, Humid Sun. Here he enlists a rotating ensemble of ten guest artists from Toronto’s vibrant music community, including his labelmate Joseph Shabason, who also serves as the album’s co-producer and engineer.

Spurred by his longtime admiration for chamber pop spanning the High Llamas and Free Design to the Beach Boys, Takahashi deviates from the underlying processes of his past two outings, trading Ableton sequences for lead sheets, focusing on creating robust melodic and harmonic foundations first. This difference is audible straight away; the album opens with a dialog between upright piano and plucked double bass that’s so gentle and transparent you can hear the breath of the players.

80 g vinyl + 60 x 60 cm poster of original Big city life artwork)

Stirring the cauldron of sound. From the acclaimed album Big City Life, artists that Smerz admire put those songs through themselves, to become a friendly mirror and or an alternative documentation.
With Yrdloop, Astrid Sonne, NEW YORK, Haloplus+, Molina, Erika de Casier, Fine, They Are Gutting a Body of Water, MIKE, Zack Sekoff, Elias Rønnenfelt, Fousheé, ML Buch, Clarissa Connelly, Cezinando, Toxe, VVTZJ and Clairo.

If the name The Midnight Hour isn't immediately familiar, the music almost certainly is. Ali Shaheed Muhammad is a founding member of A Tribe Called Quest, one of the most beloved groups in hip hop history. Adrian Younge is the Los Angeles-based composer, multi-instrumentalist, and producer who has shaped the sound of some of the most critically admired records of the past two decades. Together, they have been architects of the sound that serious listeners point to when they try to describe what great music feels like.
The music they had been making together had a life of its own. By 2018, it had become The Midnight Hour: their self-titled debut album, recorded to tape with a live rhythm section and a full orchestra, and released to widespread acclaim. In 2020, the duo were deep into sessions for a second album. But then the world shut down, the recordings were shelved. The album never came and remained unfinished and unheard. But now, via their Jazz Is Dead label, The Lost Tapes have been unearthed

If the name The Midnight Hour isn't immediately familiar, the music almost certainly is. Ali Shaheed Muhammad is a founding member of A Tribe Called Quest, one of the most beloved groups in hip hop history. Adrian Younge is the Los Angeles-based composer, multi-instrumentalist, and producer who has shaped the sound of some of the most critically admired records of the past two decades. Together, they have been architects of the sound that serious listeners point to when they try to describe what great music feels like.
The music they had been making together had a life of its own. By 2018, it had become The Midnight Hour: their self-titled debut album, recorded to tape with a live rhythm section and a full orchestra, and released to widespread acclaim. In 2020, the duo were deep into sessions for a second album. But then the world shut down, the recordings were shelved. The album never came and remained unfinished and unheard. But now, via their Jazz Is Dead label, The Lost Tapes have been unearthed

This is our first VA on Arepas Records. A selection of tracks from befriend artists we admire a lot, collected on our Umami Series I. Each track carries its very unique taste and vibe. VINYL ONLY!

Mit „Tranquilo II“ schlagen In Extremo ein neues Kapitel ihrer beeindruckenden Erfolgsgeschichte auf. Am
23. Oktober 2026 erscheint das außergewöhnliche Akustikalbum mit 17 Songs, die mehr als drei Jahrzehnte
Bandgeschichte in überraschend neuem Klang präsentieren.
Statt ihre Klassiker lediglich leiser zu spielen, haben In Extremo Stücke wie „Spielmannsfluch“, „Frei
zu sein“, „Störtebeker“, „Liam“ und „Feine Seele“ komplett neu arrangiert. Swing, Rockabilly, Ska, Reggae und osteuropäische Einflüsse treffen auf historische Instrumente und den unverwechselbaren Sound der
erfolgreichsten Mittelalter-Rockband der Welt. Eingespielt wurde das Album in einem kleinen Studio in
Dornbirn – live, unmittelbar und mit viel Raum für spontane musikalische Ideen.
Unterstützt werden In Extremo von hochkarätigen Gästen: Metal-Ikone Doro Pesch verleiht „Feine Seele“
besondere Intensität, Jan „Monchi“ Gorkow und Max Bobzin von Feine Sahne Fischfilet sorgen bei „Störtebeker“ für eine ebenso ungewöhnliche wie mitreißende Begegnung, während Faun-Sängerin Laura Fella
den Klassiker „Liam“ bereichert. Mit „Heute wird der Himmel brennen“ enthält das Album außerdem einen
brandneuen Song.
Ein besonderes Highlight für Fans ist die exklusive Bonus-EP „Sternhagelvoller“, die der Deluxe-CD sowie
dem streng limitierten Vinyl-Bundle beiliegt. Das Herzstück bildet eine sechsminütige XXL-Version des
Partyklassikers „Sternhagelvoll“, aufgenommen mit zahlreichen Weggefährten aus der Mittelalter-Rock- Szene – darunter Mitglieder von Feuerschwanz, d’Artagnan, Faun, Tanzwut, Subway to Sally, Versengold,
Fiddler’s Green und Corvus Corax. Ergänzt wird die EP durch den exklusiven neuen Song „Amontillado“
und eine besondere Version von „Ave Maria“ mit der kroatischen Vokalformation Metaklapa.
Im November und Dezember bringen In Extremo „Tranquilo II“ auf große Akustiktour. In ausgewählten
Spielstätten wie dem Berliner Admiralspalast, der Hamburger Laeiszhalle, der Alten Oper Frankfurt und
dem Circus Krone in München stehen Nähe, Atmosphäre und musikalische Feinheiten im Mittelpunkt.
„Tranquilo II“ ist weit mehr als eine Reise durch die Vergangenheit: Es ist ein mutiges, vielseitiges und
überraschendes Album, das bekannte Hymnen neu entdecken lässt und zugleich eindrucksvoll zeigt, warum
In Extremo auch nach mehr als drei Jahrzehnten musikalisch unberechenbar bleiben.

Following the success of the inaugural all-Jiri Jiri edition, Batov Records returns with the second instalment of its Give Me Disco series, once again curated by label co-founder and globe-trotting selector DJ Kobayashi. Rather than revisiting familiar disco classics, Give Me Disco Vol. 02 digs deeper, bringing together four dancefloor discoveries from across Europe and Asia, including two previously unreleased tracks available here for the first time.

Spanning Portuguese jazz-funk, Norwegian cosmic oddities, Japanese-inspired psychedelic disco and cinematic groove, the EP reflects the breadth of Kobayashi's record bag - a carefully assembled selection of tracks that have soundtracked his DJ sets for years alongside exclusive material rescued from the vaults.

Opening the record is The Bam Jam Band's brilliantly understated "Theme", a soaring slice of jazz-infused disco from Portuguese musicians Sérgio Alves and Pedro Tenreiro. Originally released only as a now long-sold-out 7 inch on Mad About Records, the track has become one of Kobayashi's trusted secret weapons, championed by discerning selectors including Darryn Jones and Red Greg. Built around Alves' dazzling synthesiser work, "Theme" finally gets the wider audience it deserves. The EP's first exclusive arrives courtesy of D. Apal, instrumentalist and member of Norway's Flammer Dance Band. His only solo release, issued on the band's Lysketrekk Records, has become a cult favourite among adventurous record collectors. Batov now unveils the previously unreleased "60 Meter'n (Rytme)", an extended instrumental dub that strips away the vocals to let the handclaps, cavernous bassline, dub effects and wonderfully eccentric synthesisers breathe, transforming an underground favourite into an irresistible dancefloor weapon.

Side B opens with YĪN YĪN's "Tokyo Disco", taken from the band's acclaimed third album Mount Matsu on Glitterbeat Records. Long-time admirers of the Dutch quartet, Kobayashi has championed them since first hearing the breakthrough pairing of "Dis ̄ kô Dis ̄ kô" and "Dion Ysiusk" on Bongo Joe. Since then, he has hosted the band twice on Soho Radio and supported them live in London. "Tokyo Disco" perfectly captures YĪN YĪN's distinctive blend of Japanese-inspired psychedelia, Southeast Asian influences, post-punk funk and shimmering disco grooves, making it a natural fit for the Give Me Disco series.

Closing the EP is another exclusive from Jiri Jiri, whose contribution helped launch the series on Vol. 01. Ahead of their forthcoming album later this year, the duo unveil the previously unreleased "Spaghetti Western", a wonderfully off-kilter fusion of Morricone-esque cinematic atmosphere, taut funk rhythms and the soulful modern groove of SAULT. Equal parts soundtrack and dancefloor curveball, it provides a fitting finale while offering another tantalising glimpse of what's still to come. With two exclusive cuts sitting alongside two carefully chosen modern classics, Give Me Disco Vol. 02 is another lovingly curated snapshot of DJ Kobayashi's musical universe: borderless, groove-driven and unapologetically built for adventurous DJs, discerning collectors and open minded dancefloors alike.

For over 30 years the Midwest machine menace that is Paul Birken has been developing and exploring his love for the limitless potential that exists when you chain together synths, sequencers, samplers and beat makers, he is a true audio explorer communicating his own unique sonic exploration through his machines + odd dreams. Starting out back in the day merely with a Commodore 64 computer and a few synths, his studio gear arsenal has constantly evolved over the years into a myriad of unfathomable boxes, cables and bangin’ in his attic allowing him to freely manipulate his random audio creations into the most serious and fun grooves anywhere in the techno realms. Along-with his own imprint Tonewrecker Recordings, Paul’s appeared on a huge stack of the most impressive labels including Don’t Recordings, Fun In The Murky, Earwiggle, Mord and of course a plethora of remixes and tracks on our very own RIOT Radio Records.

From within a tomb in ancient lands comes this 'Bandage Boogie.' A hallowed homage to all things that are non-stop breakin'  n' stompin' n' boppin' to the RIOT beats that have now manifested themselves on a 'Mummificated' dance floor near you. This aint street life, this is tomb life, and you'll need as many sacred tanna leaves to keep you movin’ as your fiendish high priest will bestow upon you. This brewed techno fluid that we're administering will ultimately invoke 'The Curse of RIOT’ and you’ll be doomed to eternal bouncin' aboot to its 'Pyramid Pongo' beats that go mysteriously THUMP in the night. Each track on here, and especially in his infamously legendary live sets, are unique in that they get erased from his machines after their creation and won’t ever be spawned again, but ssssssssssssssh, Mummy's the word.

The full digital release also features two bonus immortal tracks delving you deeper into the life-giving sounds of this ‘Mummy Wrapsody.’

WARNING: THESE UNWRAPPED TECHNO BEATS CREATE A WONK-A-THON YOU WILL NOT ESCAPE FROM

The much-admired southern soul singer Eddie Giles’ final single for his local Shreveport label Murco, was a self-penned bluesy plodder called ‘Ain’t Gonna Worry No More’. Hiding on the flip was ‘Tingling’ a catchy, atmospheric song written by Murco executive Dick Martin and Jimmy Johnson whose pop group the Peermonts were label-mates. His subsequent release by the same production team appeared on the Silver Fox label so his management may have felt his time at Murco was up - the few pressings of ‘Tingling’ are now in the rare soul big price league.
Around the same time Eddie cut a version of a 40s Country song written by Fred Rose which leant itself to being an excellent mid-tempo soul number; though not released at the time. Despite its sparse instrumentation, it is a very good performance, now on vinyl for the first time.

BATTISTINO, the artistic alias of Marco Battistini, is an Italian musician, songwriter, producer and DJ. His project is rooted in the meeting point between Italo Disco, French Electro, late-’70s Disco Music and Italian pop culture, reinterpreted through a contemporary vision that avoids nostalgia in favor of a distinctive sonic identity. His main influences include the aesthetic vision of Daft Punk, the musical freedom of Daniele Baldelli’s Cosmic Sound, the international disco movement of the late 1970s, and the golden era of Italian Italo Disco, with a special admiration for Righeira. His productions combine driving synth grooves, pulsating basslines and immediate melodies. Gritty electronic drums, saturated synthesizers and subtle harmonic distortion deliberately break away from the polished sound traditionally associated with classic Italo Disco. The result is a more physical and textured sonic palette that preserves the melodic elegance at the heart of the project. BATTISTINO’s visual identity follows the same philosophy. Elegant, reserved and almost bureaucratic, he prefers to remain behind the scenes rather than at the center of attention. More than a performer, he acts as the curator of a sonic archive, where every track represents a fragment of a larger story.

“Il Segreto” is the opening chapter of a conceptual trilogy inspired by an affair that was never revealed, set on the Italian Riviera in the early 1980s. Rather than telling the story itself, the project explores what remains: silence, forgotten details, invisible traces and memories suspended in time. Music, visual design and imagery all become chapters of the same narrative. Every release is a new file, every track a recovered document, every production another fragment of a story that will never be fully disclosed. BATTISTINO doesn’t tell stories. He preserves them. And, from time to time, he allows part of them to surface.

The 12″ includes a N.O.I.A. Remix!

Jazzbois Around The World - a project built around mutual musical respect, encompassing MCs from all around the globe - Some who we've had the pleasure of meeting personally, some who we connect with online. Much love to all of you for being a part of this.
Absolutely born out of an admiration of live hiphop and beats culture - a musical collage of international collaboration. So proud of all our culprits:
now available on 500pcs limited edition 12" vinyl

-Franky Bones
-Goya Gumbani
-Jah Digga
-Craneo / Slothbrite
-Kaicrewsade
-CLBRKS
-Capriisun
-AWON
-INQ.
-Kid Abstrakt
-BluntOne
-FAKT
-Pogány Induló & Ótvar Pestis
Bless you all!

Artwork/Illustration: Roland Herczkó
Print master: Lobotworks
All tracks produced by the jazzbois
Track 6 co-produced by Franky Bones
Track 3 co-produced by FAKT
Track 1 co-produced by MrSlipz
Track 10 co-produced by BluntOne

All tracks mixed & mastered by Czirják Tamás / jazzbois
Jazzbois are
Bencze Molnár - keys, sampling, editing
Viktor Sági - bass, guitars, sampling, editing
Tamás Czirják - drums, editing, drum sampling

Originally released in 2000 on Smalltown Supersound, Kim Hiorthøy’s first record Hei captures an artist who had made very little music before – yet it seemingly was the starting point of a musical career that would stay away from easy categorisation. Now, Hei (2026 Remaster) returns on blickwinkel, released digitally and on vinyl on 30 October 2026, as part of an ongoing series revisiting and reissuing Hiorthøy’s work.

Made in Copenhagen with little equipment — an Akai MPC2000, a stereo microphone and a DAT machine — Hei was assembled from samples, sequences and rhythms, with no outboard mixing or processing. Without really knowing what he was doing, the music was created intuitively while drawing inspiration from instrumental hip-hop he was listening to, the techno and drum & bass he admired but did not yet know how to make, and a broader fascination with music that felt personal, homemade and slightly uncertain of its own identity. Hei sits somewhere between those impulses. It is beat-driven without belonging entirely to beat music, experimental without announcing itself as such, but unmistakably coming from a playful series of events and decisions.

In that regard, the title of the closing track might be a fitting description of the album itself and, in hindsight, also of how we can look at Hiorthøy’s subsequent work. Taken from a story by Tove Jansson, the title evokes a state of openness and curiosity, a state where thoughts and impressions are simply given the space to unfold:

“He didn't care to get up, all day he let new images and ideas come and go as they pleased, now and then slept a little and woke up again and had no idea who he was. It was a peaceful and very exciting day.”

There is something of Hei in that state of mind: a willingness to follow an idea without knowing exactly where it might lead, a willingness to follow guts and the heart rather than ratio. Perhaps that is also what makes Hei still feel relevant today. As Hiorthøy puts it when reflecting on the music he made then and the music he makes now: “If I compare the music on Hei to music I’m making now, the general sentiment or smell or air or tree or pull of what I’m looking for and listening after when I work is, I think, for better or worse, more or less the same.”

All music by Kim Hiortøy
Mastered by Stephan Mathieu
Portraits by Kim Hiorthøy
Design by Jelle Martens

NON-RETURNABLE

Scream and Soulside first played together at the Cubby Bear in Chicago in July 1988. After a few more shows together that year, they didn’t share a stage again until July 2022, at the Inne Brzmienia festival in Lublin, Poland. There in Poland the two bands met minds, and a match was struck. Soulside and Scream soon released new albums on Dischord Records, then toured together in the US and Europe in 2023 and 2024.

This 7" is a gathering of forces and musical admiration to spread a message of love and a lifelong commitment to the struggle for true American justice. “Laissez-Faire” was written by Scream and first appeared on Still Screaming (Dischord, 1983). This version is performed by Soulside and was recorded and mixed in June 2025. “Reconstruction” was written by Soulside and first appeared on A Brief Moment in the Sun (Dischord, 2022). This version is performed by Scream and was recorded in September 2024.

2026 Repress

Even if Ancient Greek isn’t part of general knowledge anymore, the word mega is. Hence, you might admire our modesty to say that Roman Flügel’s first outing on Running Back in 2022 is perfectly headed. Greta, large, mighty and somewhat the love- or brainchild of his earlier Garden Party and the previous D.I.S.C.O., Mega pulls out all the stops: hi-nrg melodies, circus bells, cowboy funk and honey hooks at 140 beats per minute. While it is nearly impossible not to take this bait or decorate it with the Bobby-O medal of honor, Roman proves one more that you can be catchy and classy at the same time.
Rules on the other hand, puts some of these stylistic devices in reverse or down-tempo mode and feels like brushing your teeth after an extended feast or the perfect hors d’oeuvre.
Completing the picture with Film 1, Film 2 and Film 3, Flügel flexes his freethinking muscles and lands in-between art school new wave bands and soundscape science. Music that is masterly made, magical in its impact and perfectly described with a misquoted line from Get The Balance Right: it’s never predictable.

This 1981 album marks the debut of the most revered and iconic figure in Peruvian chicha: Chacalón. His music combines fuzz- and wah-wah-drenched distorted electric guitars with tropical percussion and even elements of huayno. This passion for electric guitars also fueled his admiration for the British band Cream -- and, of course, Eric Clapton -- which ultimately inspired the name of his band: La Nueva Crema.


His songs speak to the working classes who migrated from rural areas to the major cities in search of better employment opportunities and portray the hardships they faced. The lyrics tell stories of heartbreak, drunken nights amid everyday struggles, and marginalization -- common experiences in the poorer communities of Peru. Chacalón became a cult figure among the most disadvantaged sectors of Peruvian society, a devotion that remains strong years after his death. The album is essential listening for anyone interested in psychedelic cumbia and the roots of Peruvian chicha. This reissue preserves the album's original artwork as it appeared on Discos Horóscopo and includes liner notes by genre expert Víctor Zela (La cumbia de mis viejos).

BAR Musica never stops. Following the first instalment of our 10 Years Anniversary Various Artists series, which sold out within just a few weeks, we keep pushing forward, releasing music from artists we admire and who share our vision.

We’re very happy to welcome Vithz, a UFeel resident DJ who never stops sharing his music across some of the best parties around the globe.

Joining him on this release is another friend, Dan Ghenacia, who needs no introduction. A true institution in his own right, we’re incredibly grateful to have him on board for this new release.

In the realm of Swedish melodic rock from Skövde, few bands command the attention and admiration quite like NIVA. With their signature blend of soaring melodies, powerhouse vocals, and infectious hooks, the band has established themselves as a force to be reckoned. Now, with the release of their highly anticipated 7th full-length album ""Stratospheric,"" NIVA once again proves why they are considered among the elite in the genre.
From the opening chords of the title track, it's clear that ""Stratospheric"" is an album that aims for the stars and reaches new heights of sonic excellence. Led by the Swedish powerhouse vocals of frontman Tony Niva, the album is a tour de force of melodic rock anthems that resonate with passion, energy, and raw emotion.
Throughout ""Stratospheric"" NIVA demonstrates their mastery of the melodic rock genre, effortlessly blending elements of classic rock, melodic rock, and AOR to create a Nordic sound that is uniquely their own. With its larger-than-life production and infectious energy, the album is a testament to the band's evolution and growth as artists, while also paying homage to the rich legacy of melodic rock and AOR that has inspired them along the way.
For fans of NIVA and lovers of melodic rock alike, ""Stratospheric"" is a must-listen experience that promises to transport listeners to new heights of musical ecstasy. With its unforgettable hooks, powerhouse vocals, and electrifying performances, the album is a fitting tribute to the band's enduring legacy and a testament to their status as one of Sweden's most beloved rock acts. So, strap in, turn up the volume, and get ready to embark on a journey to the stars with NIVA's new upcoming release ""Stratospheric"".

- Seventh studio album by the Swedish Melodic Rock group
- Feat. members of Master Massive, Lion’s Share, Wolf, Starchaser
- Produced by Tony Niva & Jan Strandh; mixed & mastered by Thomas Plec Johansson.

For fans of: Niva, Lion’s Share, Treat, Imperium, Eclipse

Across time and beyond genre, this is an audio component test record that continues to earn universal acclaim. Drop the needle and unleash the fateful grooves etched into its tracks.

The rediscovery of this album—originally produced as a test record for high-end audio systems—stands as one of the great rewards brought about by the rare groove movement. The project was led by the visionary Katsunori Ishida, who would later become renowned as a producer, composer, and arranger for numerous television and film soundtracks. Gathering an exceptional line up of musicians including Shuichi “Ponta” Murakami, Akira Okazawa, Mikio Masuda, Kenji Ohmura, and Tantan, Ishida crafted a sound that is both tight and sophisticated.

Tracks such as “Cool Head” and “Son Of Pin Head” showcase grooves that are at times as powerful as a hammer blow, and at others as thrilling as a rushing torrent. The musicianship, precision, and dynamic energy throughout are simply outstanding. Today, thanks to its remarkable level of craftsmanship and commanding presence, this album is recognized as a true masterpiece, admired and celebrated far beyond the boundaries of any single genre.

DJ Support: Boss Priester, Prozak, Kepler, Osmosis Jones, Bullet Tooth, Archie Hamilton, The Trip ,Reeshy, ADMNTI, M-High, Oldboy, Mattik, Ben UFO

On Da Floor return with their second release, this time a 4 track EP: Helmed by Leeds-based DJ and producer ODF, this release captures the eclectic, genre-bending essence he’s become renowned for.

Limited pressing act fast!

In January of 2004 recording commenced on Loretta Lynn's 42nd solo album. This particular album was poised from the start to be a unique and standalone installment in a long well established, unbelievable, legendary, career already spanning five decades due to the role of producer going to none other than a 28 year old Jack White. White, a long time admirer of Lynn's work, leapt at the chance to conduct this musical experimentation of blended styles and see what fruits the two very separate but cosmically intertwined approaches to writing, playing, and producing music could yield.

The album would go on to win the 2005 Grammy Award for "Country Album Of The Year", with the albums second single "Portland, Oregon" winning "Best Country Collaboration With Vocals". A litany of other accolades were to follow and the record firmly cemented itself in the annals of Country music history as the most successful crossover album of Lorettas historic career. Twenty-two years later, we're still celebrating it.

Third Man Records is proud to announce Van Lear Rose reissued and expanded. Now including the additional track "Just to Have You Back", previously only available to members of The Vault vinyl subscription series, rounding out the already impeccable tracklist. This LP is available in both a standard black and limited edition orange (while supplies last) colorways as well as CD.

In January of 2004 recording commenced on Loretta Lynn's 42nd solo album. This particular album was poised from the start to be a unique and standalone installment in a long well established, unbelievable, legendary, career already spanning five decades due to the role of producer going to none other than a 28 year old Jack White. White, a long time admirer of Lynn's work, leapt at the chance to conduct this musical experimentation of blended styles and see what fruits the two very separate but cosmically intertwined approaches to writing, playing, and producing music could yield.

The album would go on to win the 2005 Grammy Award for "Country Album Of The Year", with the albums second single "Portland, Oregon" winning "Best Country Collaboration With Vocals". A litany of other accolades were to follow and the record firmly cemented itself in the annals of Country music history as the most successful crossover album of Lorettas historic career. Twenty-two years later, we're still celebrating it.

Third Man Records is proud to announce Van Lear Rose reissued and expanded. Now including the additional track "Just to Have You Back", previously only available to members of The Vault vinyl subscription series, rounding out the already impeccable tracklist. This LP is available in both a standard black and limited edition orange (while supplies last) colorways as well as CD.

I've always admired DJ Rush for one simple reason: he brings the Funk to Techno like no one else. His tracks are instantly recognizable. The Major’s off-grid grooves are wild, unique and downright irresistible. You just have to move when they hit. That's why I'm beyond proud and excited to present my own take on DJ Rush’s classic "Get On Up”. It’s a track that captures everything I love about his sound. Even more special: For the first time in 20 years we're also releasing the original (remastered) version by means of a strictly limited 12” picture disc. Thomas Schumacher.

What's Left is the new album by Tom Henry, releasing November 20th, 2026 on Royal Oakie Records. Where his debut album Songs to Sing and Dance To leaned into big dreams, What's Left is a record about what remains once the dust settles, delivered with the wit and charm of a young rocker in his prime. The familiar influences are still there — Paul McCartney and Big Star loom large (though there's a little more Third/Sister Lovers this time around), but now the songs are lush and polished, with new sounds creeping in around Henry’s trademark power pop hooks. On a handful of tracks you can even hear strains of Syd Barrett influenced acid-folk alongside psychedelic rock that recalls The Brian Jonestown Massacre or The Beatles at their most lysergic.

Produced in collaboration with David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain), and engineered by Glasebrook and Stephen Shirk, the album was tracked across two cities at Shirk Studios in Chicago, IL and The Garden Shed in Oakland, CA, where Glasebrook also handled mixing and mastering. The record's cross-continental origins reflect the movements of Tom’s own life over the past half decade, which found him departing his native Chicago for Los Angeles before returning home four years later, and lend the album its distinctive sound of Midwestern grit mixed with California sunshine across all twelve tracks.

Opener "Someone I Need" sets the tone: an old-fashioned, up-beat rocker built for a roadside diner jukebox somewhere out along the backroads of your mind — it's crunchy tape tones and horn arrangement lending warmth to the song as the narrator asks for a dance and beckons the listener along for the ride. By "It's Not Meant to Be," the record turns inward, wrestling with the exhaustion of trying to find love in the modern age — especially for someone who wears their heart on their sleeve and often comes to find their suitor's wardrobe doesn't have room. "Silverlake Song," reminiscent of early Donovan, kicks off with otherworldly sitar — a wry postcard from the west, tracing how the shimmering promise of L.A.'s Silver Lake enchants, bargains with, and ultimately tries to ruin the starry-eyed dreamer — and very nearly succeeds.

In addition to Tom–who sang and played guitar, bass, and keys–the album features musical contributions from co-producer David Glasebrook, Brian Daley, Joe Daley, Finn Swingley, Lewis Patzner, and labelmates Graham Patzner, Charles Lloyd, and Simon Beins. Liner notes come courtesy of Ian F. Svenonius, who — in the guise of one Johnny Sincere of Integrated Star Management Ltd. — recounts his company's failed attempt to sell Tom Henry a gimmick: a space suit, a coal miner's neckerchief, a lounge pianist's dead-eyed shades. Tom turned them all down. As Svenonius tells it, when reminded that every story's been told and every gimmick's been used, that all that's left is to admire the photographs of what's gone before, Tom simply shrugged: rock 'n' roll is an eternal spring, and if this is what's left, that's just fine with him — it's what he likes to do.

The latest in our series of Limited Edition 7x7" Soul Box Sets celebrates the work of Dave Hamilton.

Dave's musical career in Detroit stretched from the 40s into the 80s. He was involved in all black music styles during that period - blues, jazz, and gospel as well as soul music.

A talented songwriter, he wrote or contributed to ten of the fourteen compositions here and produced them all in his studios.

Though his released output was modest, considering the amount of recording he did, the gems in his tape vaults have been surprising and entertaining black music lovers since they were accessed by Ace in 1990.

That purchase came about due to Richard “Gilly” Gilbert’s detective work in discovering that a big covered-up Northern Soul spin at Wigan Casino was actually Dave’s production on “Little Ann” Bridgeforth. The ensuing years have seen soul tracks in all genres, issued on Kent and BGP and we are still discovering great tracks 36 years on. Witness ‘You Got Me Where You Want Me’ by Chico & Buddy, a fabulous funky number from around 1970 that would have been a soul fan’s favourite whenever it was issued; this is its first public appearance.

Funk crosses over to all dance scenes these days and even jazzier tracks like Dave’s own ‘Soul Suite’, a close relation of his coveted ‘Pisces Piece’ will pick up plays now it is on vinyl. Northern Soul lovers have been demanding J T Rhythm’s ‘I Love The Way You Walk’ on a seven, as have Motown connoisseurs with Rita DuShay’s original of ‘All I Need (Steal Away Tonight)’ as covered by Barbara McNair on her 1966 Motown LP.

Original copies exist of the Ravins ‘Your Love Is What I Want’ but unless you have several grand to spare on this fast and furious dancer, our audio-enhanced release is a great substitute; especially with the Kent 45 deleted.

OC Tolbert delivers a tough and menacing Clarence Reid song ‘Along Came A Woman’ which has huge dancefloor potential, like Dave’s own bluesy vocal on his similarly gritty, R&B composition ‘Take Care Of Your Own Business’.

Dave’s accomplishments into the 70s and 80s are admired by modern soul lovers and his ‘Ride The Disco Train’ by the Moderations, hit a perfect groove for progressive clubs of the genre. Both the Felecia Johnson and New Experience tracks thrive on the laid-back atmosphere Dave was able to conjure up in his home studios and the talented singers present his thoughtful songs with panache.

With enhanced audio for both of Little Ann’s uptempo and ballad classics ‘What Should I Do’ / ‘Deep Shadows’ this box set is irresistible as well as being a tribute to the unsung heroes of Detroit Soul music.

“Nothing grows in the shadow of great trees,” said Constantin Brancusi when leaving Auguste Rodin’s studio. The same holds true in music, as Richard Raux’s journey proves. At the end of 1970, after recording the debut album of the legendary band Magma, which he co-founded, Raux set out to explore new musical horizons. Under the names Faarmadin and later Hamsa, he crafted a sound deeply rooted in jazz and improvisation, yet daringly open to experimentation.


A devoted admirer of Charlie Parker, Raux played bebop alongside René Urtreger and performed with Bernard Lubat’s Percussion Expérience. Jazz is a cornerstone of Hamsa’s iconoclastic approach, blending seamlessly with psychedelic and progressive rock, and the rich musical traditions of Madagascar, where Raux spent his formative years.


Hamsa is as much a personal endeavor as it is a “family affair.” Alongside his brother Patrice on guitar, Raux brought together a circle of friends—Alain Lecointe (double bass), Jean-Lou Besson (drums), John Faure (guitar), and Alain Pistre (percussion)—to record at the iconic Château d'Hérouville, just outside Paris, at the end of 1974. Yet the spirit of Hamsa is deeply Malagasy, rooted in the village of Andranomadio, which gives its name to the album’s opening track: a vibrant explosion of percussion and color. Africa’s presence resonates throughout the record, whether invoking Brotherhood of Breath (Chris McGregor) on “Johanna,” the Malagasy-infused work of Jef Gilson, or paying homage to John Coltrane’s Africa.


Far from being “just another fusion,” Raux’s music dazzles and transports. The saxophone-guitar unison on “Ahiri Lalita” captivates, the vocals of “Fahamadina” sweep you away, and the manifesto of “L’exploité” hits hard—yet with a liberating warmth. Sunshine and joy shine through on the album’s closing track, “Cultivate the Garden of Your Heart” (with Alby Cullaz on double bass and Jean Padovani on drums), capturing the ethos of Richard Raux and Hamsa—and now, ours too.

Ilija Rudman is marking the 30th release on our musical town of Sakskøbing. The Croatian artist has told this particular story how he wanted with 4 tracks crucially being together on this disc so it would be a complete tale of “Egg of the Sun”. From heavenly pads & guitar riffs he has given birth to this particular disc which is ready to enter into the vast world of music. The artist has been putting out discs since the early 2000’s and has developed a vast discography behind his name that only deserves respect and admiration whether he is working solo or in collaborations with other musical souls. The label is welcoming a true visionary to its roster and it can only yield the feelings of excitement, admiration and proudness. The egg is so close to the sun like Icarus used to be in his time however instead of burning it only shines with brilliance.

Ghost Dubs, real name Michael Fiedler, aka Jah Schulz, announces a rebirth with 'Damaged', his first album for The Bug's PRESSURE label..

Having recently dropped two criminally overlooked, experimental dub LPs, with his 'Dub Over Science' series, the German producer/bass specialist, now stretches his own parameters of outwardness still further, with these twelve fresh explorations of dub deviance. For those who feel the fusion of dub techno and ambient drone had creatively ended with the demise of the short lived, Berlin based Chain Reaction label. Ghost Dubs now upgrades, and extends that legendary blueprint's abstract methodology even further and deeper, floating away upon a wonderfully warm sea of hiss and static bliss. This is dub so atomized that it disintegrates within your eardrums. Its music, where the machines take over and virtually all traces of humanity are erased. But thankfully, the warmest soul still oozes seductively from the pores of Fiedler's robo riddims. Relentlessly hypnotic, seriously sedated, 'Damaged' celebrates the point of departure within it's mesmerising low end grooves. Album opener 'Chemical', provides an opiated slo-mo skank, which sounds like Plastikman's 'Consumed' era pulsations drenched heavily in sub aquatic fx. A triumph of surface noise surfing and sub woofer testing relentlessness, it provides the perfect intro to this compellingly immersive album. For batty shakers and headtrippers alike, there's added thrills aplenty, as Ghost Dub's richter scale tremor rhythms remain impressively massive, and the atmospheric depths of 'Damaged' appear tantalisingly oceanic. Throughout the duration of the dreamy selection, there is an obsessive balance of bewitching ambience and heavyweight bassbin shaking. The lead single 'Thin Line' itself provides a missing link between African Headcharge's early percussive body probes and Rhythm & Sound's addictive radiance, with the slightest hint of Burial's doomed romantic hauntology added for good taste. Alternately, and no less gracefully, 'Dub Lobotomy' bizarrely resembles Miles Davis 'Get Up with it' chopped, screwed, and relocated to a futuristic Kingston Town. Impressive indeed, Fiedler's mastery of live dubbing on his mixing desk shines accross the duration, and gives the album an improvised edge, and sense of peripheral chaos. Elsewhere, spooked steppars('Hot Wired'), haunting house ('True to life') and 4th World psychogeography('Undone'), combine to ensure there is a forever changing mixture of flavours percolating within the admirable consistancy of the overall sound.

With a tip of the cap, and nod of the head to Pole('Second Thoughts'), its no surprise then that PRESSURE would then turn to the great, Berlin based producer Stefan Betke, to master/cut this collection at his infamous Scape mastering room. And a fine job he did too, as high quality sound and levels are definitely maintained throughout.

If you like your melodies submerged, your dub narcotic, your basslines obese, and your beats evaporating, 'Damaged' provides the perfect prescription and entry point into Ghost Dub's spectral soundworld.

Cécille Summer 2026 Compilation
Summer and Cécille have always gone hand in hand.

For 2026, we’re back with another carefully selected collection of records that perfectly capture where house music feels today. Eleven tracks from artists we’ve admired for years, longtime friends of the label, exciting
newcomers, and fresh faces joining the Cécille family for the very first time.

Piem opens the journey with his long-awaited Cécille debut. A respected name in the scene for many years, his unmistakable groove has been on our radar for a long time, and we’re proud to finally welcome him to the label with Give Me The Rhythm.

Leon returns to where it all began. Since his very first Cécille release back in 2009, he’s been an important part of the label’s story. Let Bass Kick is classic Leon—timeless, understated and effortlessly effective.

UK duo Late Replies continue their incredible rise with Moment 4 U. Their fresh take on house music has been impossible to ignore, and we’re thrilled to have them on this year’s compilation.

Dutch mainstay Jesse Maas delivers Voices In My Head, another classy slice of groove from one of the most consistent names in the Netherlands’ house scene.

Buenos Aires’ Manu Desrets impressed us so much that one track simply wasn’t enough. His two contributions, Get GG and Voy No Kako, showcase two different shades of his sound and perfectly reflect why he’s become
one of the most exciting producers coming out of Argentina.

Andrew Azara has become a true part of the Cécille family over the years. This time he teams up with Traumer, who makes his label debut with a beautifully understated deep house record. Need You is one of those tracks
that quietly sticks with you.

We’re also excited to welcome Jay de Lys to the family. Together with Simon Kidzoo and Monölitio, the trio delivers Into The Light—a warm, feel-good house record that instantly became one of our favourites. Three
artists from Argentina, the Netherlands and Barcelona coming together exactly the way house music should.

After turning heads on last year’s Costa compilation, Brazil’s Classmatic returns alongside fellow Florianópolis producer Marian. Brazilian Madness is exactly what you’d expect: infectious groove, irresistible swing and that
unmistakable Brazilian sense of rhythm.

One of the hottest young names coming out of the Netherlands right now, Stefan Meser delivers Don’t Hesitate—one of those records that gets stuck in your head after the very first listen.

Closing the compilation is someone who’s been part of the Cécille story since the very beginning. Christian Burkhardt has been a longtime friend of the label and one of Frankfurt’s finest. Specialo lived in our vault for almost two years while we waited for the right moment to release it. This felt like the perfect place for it, and the perfect way to close another Cécille summer.

Eleven tunes. Eleven different stories. One soundtrack for Summer 2026. Welcome to the next chapter of Cécille.

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

Introspection is a 1972 cult-favorite solo guitar album by Brazilian composer and guitarist Luiz Bonfà. Unlike his more famous bossa nova recordings, this album presents Bonfá in a deeply personal, almost meditative setting. Recorded primarily as a set of intimate solo guitar pieces, Introspection showcases Bonfà’s signature combination of classical technique, Brazilian rhythm and emotive melodic phrasing. Initially overlooked, Introspection later gained recognition as one of Bonfà’s most admired and distinctive works outside the mainstream bossa nova canon. This reissue is the first ever on vinyl after 1972.

The Beatles played two shows at the Montréal Forum on September 8th 1964, a matinee at 4pm and an evening performance at 8pm and at 6pm they held a press conference for Canadian Broadcasting Corporation from the Forum’s stage. A local newspaper had reported that somebody was going to kill Ringo, so instead of staying the night in Montréal, they flew out straight after the evening show and arrived at Key West at 3.30am where hundreds of fans were awaiting them. After a day off in Miami, the group performed at the Gator Bowl in Jacksonville, Florida the following night.
We have done the best we possibly could with these admittedly lo-fi yet important historical recordings. The source is AM radio and there is considerable distortion on the vocals. The broadcast was faded out halfway through A Hard Day's Night so the last two songs of the show, I Want To Hold Your Hand and Long Tall Sally were not transmitted.

A hard to find sci-fi Detroit techno classic - it's featured everywhere from Marcel Dettmann to Zip's SW sets.- gets a timely reissue complete with a new, super solid Delano Smith remix. It's hard not to love the original in all its futuristic glory, led by a sturdy four-to-the-floor pummelling but boasting a throbbing neo-disco bassline - imagine a lost Gorgio Moroder classic being remade by Jeff Mills in PurposeMaker mode. But the Delano Smith remix updates it for modern palates, ironically by delving back even further, to the early 70s model Kraftwerk from whom he borrows some very austere but classy synth sounds and a touch of electro syncopation. Take your pick according to mood, they both do the job admirably.